Rezensionen

FOR FREE HANDS en el MALAGA JAZZFESTIVAL

Publicado el 14 de noviembre del 2011 en Modernícolas (agenda de ocio y cultura de Malaga) www.modernicolas.com

“…UNA NUEVA MANERA DE ENTENDER EL JAZZ… La palabra para definir a este cuarteto de Berlín es sinergia. La tenue luz roja del Teatro Echegaray conseguía un ambiente íntimo, pero el resto lo hicieron estos genios.

Los presentes pudimos embriagar nuestros sentidos con cada una de las interpretaciones del cuarteto que,  en conjunto o individualmente, animaron la velada.

Jazz Contemporano, así denominan a la música de For Free Hands. Y la verdad, es que las melodías que escuchamos eran totalmente nuevas y distintas al jazz clásico. Además, los componentes nos brindaban una cercanía que nos hacía disfrutar aún más del concierto, entre sorbo y sorbo y charlando con el compañero de mesa.

El comienzo, que parecía estridente para un oído no acostumbrado, pasó a ser una dulce melodía que mezcló compases y, sobre todo, diversos instrumentos de la mano de estos especialistas. El pintoresco cuarteto mantuvo atentos a los que se atrevieron a escuchar este nuevo ritmo formado por distintas culturas pero que entre silencios y corcheas, suena a buena música.

Javier Martínez

 

 

For Free Hands de JAZZ PODIUM

Kaleidoscope Freedom LAIKA 3510305.2

“Andreas Brunn es un guitarrista y compositor dedicado, un mediador y reconciliador activo y particularmente aficionado al Este, not bene Bulgaria. (…) “Perpetuum five” viene como electrificado post-bop, grippy, cuadrado, filo, enojado, loco, jazzy. Karparov es animado y sorprendente. Y está el incómodo “Viernes mágico” o la canción principal, en la que la tendencia de Karparovs al lirismo ocasional y Brunns ocasionales “explosiones de circuito con gracia” proporcionan el contraste que genera tensión y emoción.

O ver la historia de “East Side Gallery” como la historia de un cuarteto que, sin duda, podría encontrar un lugar cómodo para ellos en el mundo, pero en su lugar usan la carga del tiempo y el trabajo histórico y de manera responsable conviértalo en una música inofensiva que de otro modo no debería ser incómoda de hacer. Y es justo entonces que están en su mejor momento. Y en el contrabajo, George Donchev todavía juega exactamente la mezcla agridulce de alegría sin límites y todo lo que acecha justo debajo de esa alegría.”

Alexander Schmitz

 

 

Lausitzer Rundschau: “East and west can meet at eye-level, and at least musically, together have something to say. The proof for that is the german-bulgarian-grecian ensemble For Free Hands, playing together with Floros Floridis (Sax, Clarinet) and Alaa Zouiten (Oud).

In the first set the ensemble introduced some self-composed pieces from the band leader Andeas Brunn. Those and more could be found on the album “Kaleidoscope Freedom”. Brunn has that passion for odd-meters and polyrhythms that could be found in the bulgarian music. So is the “Magic Friday”, written in a 13/16 bar. Did the listener notice ? “I hope not, it wasn´t ment to sound complicated”, said the composer. In the second set it came to an intensive encounter with the music from Floros Floridis and Alaa Zouiten. The musicians from For Free Hands met Alaa Zouiten in Marocco.

The Deutsche Gesellschaft e.V has supported the, concert tour “Begegnungen zwischen Orient und Okzident”. …” L. Hoberg

JAZZ Thing: “Those who can count have a clear advantage, and being able to do fractions does not hurt either. 5/8, 7/8 & 13/16 are some of the rhythmic fabrics that together form the outfit of the multicultural Berlin-based quartet FOR FREE HANDS on its new CD “Kaleidoscope Freedom”, and it teems with surprising twists and turns, pitfalls and tricky cliffs.

Biographical references also play a central role, like the openness of the many facets with which they encounter the former city wall. But biography and identity are not all that matter, rather the self-evident certainty with which the quartet drives the various facets of electrified jazz and charges of energy – and also, crucial is the exuberant joy of playing.” Stephan Hentz

Gaildorfer Rundschau: “… Specialist in infernal rythyms – effusively, intoxicating– that´s how the quartet “For Free Hands” presented themselves. Compositions from their new studio-album „Kaleidoscope Freedom“ surprised the audience. The polymetric concepts produced an unusual tension in the music. When in “Magic Friday” guitar- and saxophone cadences mixed over a 13/16 beat, the musicians took it like ducks to water. “For Free Hands” left the audience flabbergasted. …”

Westfälische Zeitung: “… The ensemble FOR FREE HANDS to the known strings virtuoso and composer Andreas Brunn offered the enthusiastic audience with his energetic way of playing a best example of contemporary jazz. In a true “Kaleidoscope Freedom”, the quartet showed his view of the world, appeared sound-picturesque images of haunting beauty. …“

Braunschweiger Zeitung: “ … Is For Free Hands a programmatic name? Approximately unrestricted freedom of musical expression? Well, the music brings it to light. For example, “Perpetuum 5”. Slow onset, stepping up the pace. Very fast chord changes, in any quarter time, if not on the eighth. Andreas Brunn ‘s guitar solo: In the best John Scofield style, liquid melody lines and rapid chord changes merged. … “

Rhein Press: “… “For Free Hands” combines searing friction full improvisation with folk, help themselves among rock, pop and classical and suck hungry honey from the avant-garde. With all his senses to their traditional roots, the musicians look far forward. Four musicians from three nations who take at stage, as equal active players, all the freedom in the world to do with their instruments what is possible. Four restless commuters! …”

Kieler Nachrichten: “The Fantastic Four in the Balkans noise“ … The exceptional saxophonist Karparov understands it in a unique way to combine the traditional, sometimes oriental-style way of playing his home with innovative jazz technique. Bandleader Andreas Brunn, alternately armed with 7-string acoustic guitar and electric guitar, calling repeatedly awake memories of John McLaughlin. His play and his talent for composition are profound and intelligent wit; a Jazz fugue like “Wizards‘ Cube” finally writes not of itself. …”